trigram

This is a table of type trigram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

trigram	frequency
as well as	103
part of the	91
the colour of	85
more or less	85
of the same	76
it is a	74
it may be	73
parts of the	72
one of the	67
to the eye	65
some of the	61
it is not	61
the use of	60
a piece of	56
colour of the	56
according to the	55
as in the	54
the nature of	53
yellow and blue	46
oyl of vitriol	45
the colours of	44
the action of	43
on the other	43
black and white	42
white and black	42
as it were	42
and in the	42
which may be	42
it will be	42
that it is	41
there is no	41
as it is	40
that of the	40
are wont to	40
in which the	38
is to be	38
may be made	38
as a pigment	37
seems to be	37
tints and shades	34
in the same	34
which it is	34
the effect of	33
of the body	33
the color wheel	33
of the colour	33
it has been	32
that in the	32
in the spectrum	32
surface of the	32
of the two	32
there is a	32
a solution of	31
the surface of	31
to be the	31
as i have	31
beams of light	30
of the sun	29
as we have	28
seem to be	28
a mixture of	28
a kind of	28
oyl of tartar	28
of the other	28
of the liquor	27
to each other	27
and it is	27
found in the	27
spirit of urine	27
as to the	27
the production of	27
of the spectrum	27
in reference to	26
not to be	26
of the most	26
that i have	26
the beams of	26
if i may	26
of which the	26
the addition of	26
wont to be	25
of white paper	25
those of the	25
i have been	25
by means of	25
will be found	25
but it is	25
to be a	25
by reason of	25
the solution of	25
spirit of salt	25
the mixture of	25
the study of	25
said to be	24
it would be	24
of spirit of	24
i may so	24
the most part	24
a multitude of	24
spirit of wine	24
the help of	24
out of the	24
a series of	24
what i have	24
chart of pure	23
whiteness and blackness	23
colours of the	23
two or three	23
pure spectrum scales	23
taken notice of	23
a neutral gray	22
it must be	22
is the most	22
of the glass	22
be found in	22
to be of	22
some of them	22
of the sky	22
and the other	22
syrrup of violets	22
the tincture of	22
is a very	22
the fact that	22
the combination of	22
in fair water	22
blue and yellow	21
the theory of	21
so that the	21
may not be	21
and of the	21
part of it	21
the change of	21
which is the	21
a sheet of	21
which is a	21
it should be	21
by the help	21
there may be	21
as a rule	21
of the color	21
as to be	21
is not so	21
if it be	21
of fair water	21
reference to the	21
the form of	21
it is the	21
be made to	21
for the most	21
the case of	20
the rest of	20
much of the	20
colors in the	20
in water and	20
i know not	20
we find the	20
so as to	20
of a body	20
any of the	20
the chart of	20
mixture of the	20
to the light	20
in order to	20
i found that	19
of pure spectrum	19
the same colour	19
the affusion of	19
use of the	19
met with in	19
of the subject	19
of the light	19
that may be	19
of the red	19
which they are	19
and this is	19
of the three	19
many of the	19
a tendency to	19
will not be	19
be of a	19
of the latter	19
as soon as	19
well as the	19
of a deep	19
but in the	19
the light of	19
that there is	19
green and violet	19
by which the	19
this is not	19
of a very	18
the solar spectrum	18
to that of	18
to be made	18
in some cases	18
system of color	18
of light and	18
be met with	18
by the action	18
because it is	18
that they are	18
in the form	18
like that of	18
oxide of chromium	18
be able to	18
the spirit of	18
and the like	18
the cause of	18
in the first	18
to make the	18
of the atmosphere	18
in this way	18
as far as	18
of the picture	18
that we have	18
change of colours	18
those that are	18
and that the	18
on this occasion	18
of all the	17
is wont to	17
it is of	17
to take notice	17
the other hand	17
it to the	17
of the colours	17
this may be	17
in the dark	17
the animal kingdom	17
of the former	17
each of them	17
that part of	17
of color instruction	17
may be produced	17
is of a	17
if it were	17
they are not	17
disposition of the	17
red and yellow	17
spirit of vinegar	17
either of the	17
as may be	17
as a colour	17
be said to	17
which we have	16
the corpuscles of	16
the subject of	16
the number of	16
is not a	16
the name of	16
i shall add	16
may so call	16
may be seen	16
of oyl of	16
that which is	16
is one of	16
of the black	16
of whiteness and	16
that you may	16
to be met	16
in the case	16
of the eye	16
to produce a	16
it to be	16
of the colors	16
the power of	16
of which is	16
chart of broken	16
that there are	16
of the nature	16
a few drops	16
with regard to	15
nature of the	15
the infusion of	15
when it is	15
a variety of	15
a species of	15
though it be	15
the degree of	15
not so much	15
in such a	15
the superficial parts	15
the red and	15
particles of the	15
blue and violet	15
can be produced	15
a number of	15
the result is	15
a compound of	15
is said to	15
be produced by	15
variety of colours	15
account of the	15
and some of	15
the disposition of	15
of a colour	15
take notice of	15
the body of	15
to form a	15
of a color	15
or at least	15
colours may be	15
the colouring matter	15
of the six	15
it does not	15
the other side	15
at the same	15
the texture of	15
so much as	14
and in a	14
the colour is	14
what has been	14
based on the	14
and in this	14
a sort of	14
must not be	14
to the sun	14
have occasion to	14
applied to the	14
and by the	14
each of the	14
the effects of	14
the appearance of	14
with spirit of	14
such as the	14
to make a	14
is necessary to	14
produced by the	14
may be used	14
it is true	14
of kin to	14
on the palette	14
the complementary of	14
are to be	14
of what i	14
has not been	14
may be a	14
made up of	14
action of the	14
orange and green	14
the same time	14
to produce the	14
made by the	14
few drops of	14
end of the	14
light of the	14
both in water	14
texture of the	14
may be said	14
in front of	14
water and oil	14
sheet of white	14
that the colour	14
i could not	14
of a candle	13
be the case	13
to have been	13
side of the	13
small quantity of	13
the six standards	13
broken spectrum scales	13
and black disks	13
of the following	13
any other colour	13
of the present	13
i have not	13
of blue and	13
of a white	13
to the colour	13
the decoration of	13
of the first	13
and i remember	13
flame of a	13
colour may be	13
not only the	13
blew and yellow	13
owing to the	13
of the animal	13
which i have	13
the result of	13
the law of	13
corpuscles of the	13
of the best	13
the flame of	13
the yellow and	13
it is to	13
of broken spectrum	13
what we have	13
effect of the	13
been able to	13
to make it	13
rest of the	13
proportion of the	13
of the superficial	13
of such a	13
i have sometimes	13
which can be	13
color wheel or	13
colour in the	13
of broken colors	13
in the use	13
red and orange	13
of the several	13
the whiteness of	13
the seat of	12
when they are	12
reason of the	12
the whole of	12
color in the	12
may be very	12
light and air	12
the incident beams	12
a shade of	12
because of the	12
in a trice	12
the operation of	12
depend upon the	12
in a very	12
change of colour	12
as they are	12
they have been	12
is in the	12
to satisfie my	12
in other words	12
which have been	12
of the stone	12
to the air	12
of this kind	12
to our present	12
the names of	12
that not only	12
made use of	12
against the light	12
for the same	12
and on the	12
i shall now	12
may be added	12
that can be	12
if instead of	12
the oyl of	12
and if you	12
the object of	12
to the same	12
of the object	12
have met with	12
it will not	12
the proportions of	12
we have been	12
make use of	12
as much as	12
of colours in	12
the course of	12
history of colours	12
of the pigment	12
upon a piece	12
it is in	12
with oyl of	12
on exposure to	12
and for the	12
on the color	12
the parts of	12
be used in	12
light and shade	12
and i have	12
will be seen	12
one part of	12
to be found	12
my self to	12
is composed of	12
it with a	12
would not be	12
of the water	12
the naked eye	12
it can be	11
which i shall	11
a black disk	11
of the room	11
of the wing	11
variety of tints	11
in this case	11
in some of	11
of prussian blue	11
of the parts	11
many of them	11
suited to the	11
colour to be	11
the influence of	11
because they are	11
nature of colours	11
to the other	11
alter the colour	11
is not the	11
of lignum nephriticum	11
satisfie my self	11
have been made	11
well in oil	11
have been mentioning	11
the principles of	11
than the other	11
on which it	11
the proportion of	11
a means of	11
and therefore i	11
in the following	11
i did not	11
this is the	11
with the disks	11
the light that	11
the body that	11
form of a	11
time to time	11
in the male	11
portion of the	11
the six standard	11
we have the	11
and if i	11
and the same	11
the spectrum circuit	11
the history of	11
the blue is	11
under the name	11
prussian blue and	11
insoluble in water	11
in other respects	11
the way of	11
of the fire	11
as that of	11
which seems to	11
the works of	11
of the white	11
of a green	11
way of making	11
cutting and pasting	11
the tone of	11
from time to	11
upon white paper	11
as shown in	11
by the use	11
of black and	11
the introduction of	10
the juice of	10
to show that	10
in a great	10
the variety of	10
of any other	10
by the combination	10
has been made	10
than that of	10
with each other	10
to give a	10
of this experiment	10
the leaves of	10
rays of the	10
a chart of	10
so far as	10
it would not	10
this is a	10
the consideration of	10
with white lead	10
of this nature	10
spirit of sal	10
at the bottom	10
they do not	10
the first of	10
as we see	10
the science of	10
the interior of	10
the manner of	10
piece of white	10
appear to be	10
to be so	10
i have met	10
which is not	10
chromate of lead	10
operation of the	10
should not be	10
two or more	10
by the addition	10
position of the	10
of color in	10
used in the	10
be seen in	10
with fair water	10
the truth of	10
would have been	10
the presence of	10
of sal armoniack	10
it is necessary	10
is added to	10
with a little	10
we have a	10
knowledge of the	10
a red colour	10
parts of a	10
action of light	10
shown in fig	10
colouring matter of	10
may be shown	10
more of the	10
the discovery of	10
i must not	10
in relation to	10
may be of	10
there must be	10
we have not	10
can be made	10
whether or no	10
by the affusion	10
in aqua fortis	10
of the oyl	10
strong solution of	10
one of these	10
the best possible	10
the present work	10
is apt to	10
in all cases	10
the struggle for	10
is much more	10
the blackness of	10
on account of	10
tones of the	10
in this treatise	10
of the iris	10
marked by a	10
so call it	10
in the latter	10
sir joshua reynolds	10
and of a	10
each of these	10
have not been	10
exposed to the	10
of the orange	10
of the standard	10
that it may	10
the colouration of	10
green and purple	10
if you take	10
relation to the	10
solution of sublimate	10
a broken color	10
the particles of	10
in three tones	10
the atmosphere is	10
in comparison of	10
may be employed	10
imitation of the	10
the origin of	10
capable of being	9
of a red	9
them in the	9
as a means	9
and there are	9
in looking at	9
in a convenient	9
added to a	9
of them may	9
animals and plants	9
obverted to the	9
appear of a	9
light reflected from	9
for this purpose	9
the same thing	9
on which the	9
to the action	9
attention to the	9
complementary to each	9
of the artist	9
the order of	9
is found in	9
is the case	9
of that color	9
addition of a	9
of the neri	9
in a moment	9
as for the	9
prussiate of potash	9
here and there	9
tincture of lignum	9
the top of	9
added to the	9
in some measure	9
should have been	9
the orange and	9
the direction of	9
and there is	9
and the red	9
all of which	9
to give you	9
in combination with	9
of some of	9
six standard colors	9
red and the	9
the productions of	9
may be in	9
the end of	9
it is evident	9
are said to	9
in which it	9
a small quantity	9
of which i	9
a tint of	9
acetate of lead	9
than any other	9
the same relation	9
found to be	9
in the kindergarten	9
see in the	9
whole of the	9
found that the	9
the dutch school	9
a very small	9
of the little	9
body of the	9
was wont to	9
of the wings	9
of the surface	9
in all the	9
the art of	9
darker than the	9
as i said	9
with the same	9
beams of the	9
of the ingredients	9
of the solution	9
the case with	9
of the metall	9
multitude of little	9
reflected from the	9
greater part of	9
i shall not	9
in the female	9
the mode of	9
that the beams	9
by the same	9
in the market	9
of its colour	9
may be obtained	9
and on this	9
a permanent pigment	9
to the children	9
the process of	9
and divers other	9
we see in	9
are not so	9
in proportion to	9
in the eye	9
white in shadow	9
for the purpose	9
it into a	9
it is an	9
and with the	9
a line of	9
in a strong	9
in many cases	9
the development of	9
with white and	9
the colors in	9
only by the	9
the position of	9
or any other	9
it is impossible	9
the spectrum colors	9
on the one	9
changes of colours	9
whether it be	9
may be the	9
we have sometimes	9
and may be	9
to which the	9
in the other	9
of the yellow	9
they may be	9
of that colour	9
and prussian blue	9
the results of	9
be regarded as	9
said to have	9
hues of the	9
i remember that	9
to be true	9
is produced by	9
or spirit of	9
the admixture of	9
a little of	9
of yellow and	9
but if you	9
and the whole	9
the colouring of	9
for i have	9
the beginning of	9
at least as	9
this way of	9
with respect to	9
we have said	9
in the preceding	9
exposure to light	9
most of the	9
struggle for existence	9
red and blue	9
comparison of the	9
sulphate of copper	9
with which it	9
a white disk	9
as i remember	9
and such a	9
stable or fugitive	9
the superficial particles	9
yellow and red	9
to have a	9
due to the	9
to the bottom	8
this colour is	8
in the body	8
with prussian blue	8
by this means	8
a spectrum color	8
similar to the	8
there will be	8
the class of	8
a liquor may	8
be employed in	8
of their own	8
pigments affected by	8
tone of the	8
them to the	8
none of the	8
colors may be	8
the white and	8
top of the	8
resulting from the	8
even in the	8
the shape of	8
of the rain	8
are the most	8
that it was	8
it is more	8
as for example	8
contrast of tone	8
of colored papers	8
and the eye	8
than in the	8
in the interior	8
the account of	8
it is very	8
a white body	8
upon the account	8
in nature and	8
cause of the	8
in a darkned	8
the three primaries	8
to be very	8
the same way	8
made to appear	8
belong to the	8
in the air	8
of the materials	8
from which it	8
has never been	8
the principle of	8
in which they	8
superficial parts of	8
of the blue	8
in accordance with	8
in the works	8
the idea of	8
the one and	8
the tint of	8
to be but	8
can be shown	8
the coalition of	8
spectrum scales in	8
we shall not	8
the intervention of	8
that in a	8
of color is	8
the representation of	8
of the objects	8
in the animal	8
on the paper	8
of the various	8
so that it	8
solution of the	8
it is said	8
in the glass	8
ought to be	8
the character of	8
in the second	8
to the color	8
to those that	8
it has a	8
the value of	8
the body is	8
in the proportions	8
or from the	8
shape of the	8
in this class	8
a combination of	8
the degrees of	8
to the naked	8
the result will	8
the changes of	8
not at all	8
the green and	8
result of the	8
but there is	8
of white and	8
of the earth	8
of the pupils	8
upon a white	8
which has been	8
into a white	8
the venetian school	8
to which we	8
hue of the	8
of colour in	8
soluble in water	8
from the light	8
the beauty of	8
of the experiments	8
science of color	8
the juices of	8
sense of the	8
the brightness of	8
those parts of	8
colours in the	8
shades of the	8
be brought to	8
little or no	8
that i had	8
but they are	8
but if the	8
the upper part	8
tint of the	8
the children have	8
to a very	8
have several times	8
direction of the	8
it is quite	8
wont to do	8
shown in the	8
to which i	8
means of the	8
color mixed with	8
the system of	8
is made by	8
is the more	8
from the mixture	8
to a great	8
or less of	8
you may not	8
the colors of	8
the properties of	8
we have already	8
be made of	8
be made by	8
from the same	8
theory of color	8
the effect is	8
the greater part	8
the beams that	8
the adventitious colours	8
nature of whiteness	8
affusion of a	8
of the papers	8
the style of	8
of a little	8
another principle of	8
notice of in	8
the old masters	8
the composition of	8
you shall find	8
the color top	8
to reflect the	8
there are no	8
the present day	8
it would seem	8
point of view	8
the first place	8
oxide of iron	8
be determined by	8
the standard red	8
first of the	8
of a picture	8
a great part	8
i have several	8
disks on the	8
the work of	8
reason of its	8
with the addition	8
that i should	8
the same reason	8
is the same	8
i think it	8
may be considered	8
the colouration is	8
same relation to	8
in five tones	8
this class of	8
the same color	8
must be a	8
of the corpuscles	8
the sense of	8
not to mention	8
and as for	8
a deep red	8
that all the	8
had occasion to	8
in the foreground	8
to light and	8
of the medium	8
place of the	8
which is more	8
seems to have	8
of colours may	8
from which the	8
a darkned room	8
colour of a	8
may be found	8
salt of tartar	8
that in this	8
any thing of	8
one of them	8
that the red	8
of the old	8
some of these	8
incident beams of	8
side by side	8
instances of this	8
the solutions of	8
upon the same	8
and as it	8
the want of	8
effect of a	8
and though i	8
four or five	8
as applied to	8
changes of colour	8
the lower part	8
but this is	8
is a pure	7
the attention of	7
a great measure	7
there is little	7
it seems not	7
are of the	7
is the only	7
the blew and	7
blue is a	7
on the secondary	7
quality of the	7
experiments about colours	7
being of a	7
is that the	7
that the effect	7
that this is	7
and to the	7
color of the	7
the tribe of	7
in the course	7
as spirit of	7
in the direction	7
mention to you	7
of an acid	7
on the wheel	7
upon the surface	7
of colour and	7
any more than	7
in a room	7
of the upper	7
of which it	7
a way of	7
the following are	7
of the common	7
as we are	7
for me to	7
may be introduced	7
white or black	7
in a certain	7
prepared from the	7
the six colors	7
on the subject	7
of colors in	7
one of those	7
the most important	7
convenient proportion of	7
and it may	7
study of color	7
beauty of the	7
it is found	7
some of it	7
compared with the	7
in spirit of	7
in most cases	7
of the work	7
the sake of	7
adventitious colours of	7
of this class	7
in the solar	7
of the chart	7
that if you	7
more than a	7
spots and stripes	7
surface of a	7
the bottom of	7
dependent upon the	7
or in the	7
that colour is	7
as to make	7
of the more	7
as i elsewhere	7
there are two	7
is not necessary	7
such as is	7
little spirit of	7
at that time	7
infusion of brazil	7
it was the	7
it has the	7
to be regarded	7
or other of	7
of a bright	7
to the nature	7
the necessity for	7
may so speak	7
the lucid body	7
in the schoolroom	7
that the same	7
is covered with	7
at the end	7
the investigation of	7
colors in nature	7
of the primary	7
not a little	7
if this be	7
if we take	7
i have had	7
from the rest	7
and as the	7
i told you	7
and is a	7
most part of	7
a long time	7
of the tincture	7
help of a	7
by which we	7
and to shew	7
change the colour	7
green and blue	7
of a dark	7
the formation of	7
blue and green	7
is a compound	7
classification of harmonies	7
disk of the	7
of a lovely	7
belongs to the	7
the eyes of	7
may be easily	7
a green colour	7
thought fit to	7
is impossible to	7
therefore i shall	7
soon as the	7
in connection with	7
in the black	7
by this way	7
which it may	7
attention of the	7
to be seen	7
style of colouring	7
is a native	7
the preparation of	7
i have often	7
on one side	7
a matter of	7
the argus pheasant	7
an example of	7
employed as a	7
on which to	7
of its own	7
nature of light	7
employed in the	7
that is not	7
nomenclature of colors	7
to tell you	7
principle chapter ii	7
complementary of the	7
that the colours	7
several sorts of	7
the warmth of	7
in common use	7
of the paper	7
of other colours	7
of it in	7
colour to the	7
it is only	7
the union of	7
quantity of the	7
a very deep	7
of a strong	7
of the acid	7
and white disks	7
adapted to the	7
a very strong	7
of the air	7
burnt roman ochre	7
the reason why	7
study of the	7
red and green	7
disks of the	7
be produced in	7
well as in	7
not only by	7
the eye and	7
of colour are	7
a convenient proportion	7
is requisite to	7
has been said	7
there are many	7
of the foregoing	7
of syrrup of	7
in like manner	7
for the sake	7
nor is it	7
the pattern changes	7
by which it	7
the wheel and	7
it seems to	7
that of a	7
to give it	7
that they have	7
in the manner	7
with in the	7
between each two	7
as we shall	7
a nomenclature of	7
of the tertiary	7
a quantity of	7
have been found	7
the hands of	7
mixed with a	7
with that of	7
that in some	7
for it is	7
strength of the	7
character of the	7
of any of	7
be used with	7
the part of	7
be seen that	7
nature and art	7
in the night	7
the qualities of	7
far as i	7
the distribution of	7
by the light	7
that even in	7
to one of	7
have divers times	7
i formerly noted	7
not only to	7
means of art	7
a white calx	7
proceed from the	7
and the yellow	7
it may not	7
being able to	7
and those that	7
color is a	7
colouring of the	7
held against the	7
of red and	7
of one colour	7
broken spectrum colors	7
is admirably adapted	7
the generality of	7
have a tendency	7
is a mixture	7
depends upon the	7
solution of minium	7
and the latter	7
in the higher	7
be necessary to	7
we shall have	7
result will be	7
them may be	7
that i could	7
seen in the	7
it upon a	7
as much of	7
while in the	7
forms of life	7
and when the	7
is obtained by	7
other parts of	7
the side of	7
the hue of	7
of a black	7
great part of	7
of the above	7
might have been	7
which by the	7
into a red	7
in the sky	7
the purity of	7
of which are	7
a color is	7
part of a	7
purity of the	7
that though the	7
of a fine	7
combination of the	7
of a golden	6
neutral gray is	6
it was a	6
in the former	6
the colour was	6
any of them	6
the following experiment	6
chart of spectrum	6
back to the	6
colors found in	6
of the chymists	6
by way of	6
in the more	6
few of the	6
but of a	6
appears to be	6
to be more	6
the surfaces of	6
more than two	6
if they are	6
of one of	6
as we elsewhere	6
may be secured	6
examples of the	6
result is a	6
tints of the	6
french blue and	6
of its parts	6
of the small	6
our present purpose	6
were of a	6
which must be	6
the experience of	6
a lovely green	6
are of a	6
a short time	6
make up the	6
concurr to the	6
contiguous to the	6
in place of	6
shade or shadow	6
complementary to the	6
of the bianchi	6
appear to the	6
to return to	6
good part of	6
made in the	6
it follows that	6
of the whole	6
a collection of	6
i am not	6
and therefore the	6
as a substitute	6
in the lowest	6
of two or	6
and in some	6
that even the	6
more than once	6
with which the	6
with some of	6
it is possible	6
of the particular	6
subject of color	6
work of the	6
but if it	6
to try whether	6
or as a	6
a good while	6
that are not	6
of spectrum scales	6
and we have	6
of the principles	6
of tin and	6
has already been	6
the pure color	6
on the part	6
six standards and	6
we find it	6
the tendency to	6
of the art	6
forms of asperity	6
is the object	6
on a white	6
be seen by	6
case of the	6
attached to the	6
and so on	6
with the yellow	6
and broken colors	6
far as we	6
we find in	6
as it was	6
in point of	6
lighter than the	6
substitute for the	6
which we may	6
on which they	6
has a tendency	6
than the rest	6
in the solution	6
selection of the	6
not a green	6
be employed with	6
the rays of	6
be of value	6
i thought fit	6
quantity of fair	6
there was no	6
be taken in	6
i say not	6
that when i	6
produced in the	6
and if we	6
notice of the	6
us by the	6
or some other	6
its use in	6
the black body	6
you may see	6
and burnt sienna	6
small amount of	6
in the third	6
which it was	6
for this reason	6
it is often	6
in one of	6
to acquaint you	6
of the wood	6
of those parts	6
changes at the	6
a degree of	6
on the whole	6
school color wheel	6
with the color	6
general aspect of	6
the whole picture	6
it is apt	6
is applied to	6
the blue and	6
just as the	6
by the touch	6
by the great	6
in a dark	6
on this subject	6
and shades of	6
of a much	6
will afford a	6
difference in the	6
a fact which	6
i will not	6
surfaces of the	6
a white wall	6
little of the	6
with a dark	6
be found to	6
it is so	6
scales in five	6
the upper wing	6
and the orange	6
in this place	6
may have a	6
the royal society	6
by the operation	6
in water or	6
not without some	6
that the superficial	6
of a certain	6
the light reflected	6
of the vial	6
to have seen	6
for want of	6
so that there	6
with light red	6
in our case	6
a strong light	6
upon a sheet	6
at the center	6
to shew that	6
is seen in	6
of the secondaries	6
of one or	6
to render the	6
when it was	6
of the fore	6
be in the	6
i took a	6
by the way	6
the light and	6
from that of	6
in a few	6
classes of colors	6
a strong fire	6
an infusion of	6
a product of	6
greatest part of	6
it be not	6
formed by the	6
can be found	6
is furnished by	6
a convenient quantity	6
or in other	6
proportions of the	6
from the air	6
to insist on	6
i shall only	6
this is what	6
are marked by	6
base of the	6
of the class	6
in the day	6
of the flowers	6
of all colours	6
occasion to take	6
in the making	6
in the sea	6
of those that	6
the base of	6
if they be	6
of this pigment	6
of the new	6
it may seem	6
image of the	6
will be the	6
always more or	6
all the other	6
color can be	6
system of colouration	6
a range of	6
of these two	6
a class of	6
the prussian blue	6
change of texture	6
into my mind	6
it had been	6
principle of titian	6
when mixed with	6
instead of a	6
the difficulty of	6
reflect the light	6
we know that	6
the greatest part	6
that is to	6
acquaint you with	6
of the one	6
in the papers	6
tincture of red	6
use in the	6
as a glaze	6
they are all	6
and the green	6
in cold water	6
made of the	6
do in the	6
as is the	6
of the great	6
of each of	6
silica and alumina	6
instead of the	6
is insoluble in	6
of colour is	6
the property of	6
brown of the	6
the tints and	6
the explication of	6
of the thorax	6
that it will	6
the sense organs	6
sides of the	6
piece of black	6
the back of	6
those in the	6
i thought it	6
be of the	6
known as the	6
contribute to the	6
that they may	6
seem to have	6
to be in	6
the like colour	6
and some other	6
some of those	6
between the words	6
by any other	6
with it a	6
be classed as	6
and sulphureous salts	6
affected by the	6
to the surface	6
and if the	6
of differing colours	6
can be seen	6
importance in the	6
and that this	6
degrees of fire	6
the liquor that	6
the same tone	6
they must be	6
is the result	6
the lowest forms	6
requisite to make	6
section of the	6
may be well	6
the colour which	6
the inside of	6
to see that	6
we are wont	6
to set down	6
that had been	6
that yellow and	6
a strong solution	6
the prismatical iris	6
of which may	6
not only in	6
in many instances	6
of texture in	6
a pure color	6
to the first	6
in the water	6
the interposition of	6
division of the	6
the two former	6
the same purpose	6
convenient quantity of	6
removed from the	6
on the semi	6
that if it	6
when i was	6
under the influence	6
are made to	6
looking at a	6
in the sense	6
a good part	6
of my own	6
the nearest approach	6
that the eye	6
is due to	6
on the wall	6
not how many	6
of the leaves	6
terra di sienna	6
we do not	6
that i know	6
not far from	6
front of the	6
be possible to	6
some part of	6
out of place	6
of the differing	6
has been found	6
it has not	6
may in a	6
each other in	6
lights and shadows	6
all the colors	6
the following experiments	6
on the spindle	6
which the light	6
to be used	6
infinite variety of	6
in its pale	6
is a species	6
close to the	6
little more than	6
to give the	6
in the preparation	6
into a lovely	6
used as a	6
and with a	6
which will be	6
it in a	6
with the other	6
hereafter to be	6
the forms of	6
the latter of	6
i have elsewhere	6
we come to	6
there are some	6
have taken notice	6
colors from the	6
a little spirit	6
by milton bradley	6
i do not	6
a part of	6
of the dutch	6
degree of heat	6
may be termed	6
there can be	6
of those colours	6
bichromate of potash	6
light that falls	6
pigmentary imitation of	6
of the adventitious	6
a great deal	6
have been the	6
a system of	6
may be called	6
some kind of	6
said of the	6
the standard colors	6
would be a	6
light in the	6
we have seen	6
on the tertiary	6
by impure air	6
light and the	6
with which they	6
one and the	6
we shall see	6
it is composed	6
is evident that	6
i have found	6
know not how	6
so call them	6
great variety of	6
consideration of the	6
shall not be	6
the making of	6
to which these	6
be more or	6
of those two	6
the light is	6
purple of cassius	6
but that the	6
may be compounded	6
the general aspect	6
of orange and	6
according to its	6
or impure air	6
the light in	5
a convenient distance	5
and should be	5
colouring as a	5
for a few	5
that when the	5
near of kin	5
to make them	5
in the study	5
that falls on	5
may be so	5
yellow and green	5
heat of the	5
is reduced to	5
be made up	5
yellow and the	5
from which they	5
the basis of	5
they have a	5
proportion to the	5
degree of fire	5
scales in three	5
may be tried	5
orange and violet	5
a great many	5
pretty quantity of	5
to me by	5
hence it is	5
better than the	5
and impure air	5
but that in	5
the decoration is	5
of colours to	5
a color between	5
the pores of	5
if it is	5
you take a	5
change in the	5
and partly because	5
and we shall	5
the hind margin	5
on the right	5
the materials employed	5
such a variety	5
to alter the	5
according as the	5
contained in the	5
to be considered	5
of the cause	5
classed among the	5
or may not	5
a mass of	5
known to the	5
and that is	5
state of the	5
the shadows of	5
we see that	5
and beauty of	5
than those of	5
related to the	5
as that which	5
as they speak	5
parts of bodies	5
of the copper	5
a given color	5
nearest approach to	5
like those of	5
and you may	5
by the mixture	5
and to make	5
white bodies reflect	5
of these experiments	5
of the second	5
these animals are	5
account of it	5
should be made	5
the other two	5
and brown madder	5
of the disks	5
we are not	5
but of the	5
the employment of	5
the shadow of	5
experiment may be	5
the children in	5
at the time	5
use of a	5
the colored papers	5
know not whether	5
by the opposition	5
or by some	5
you in mind	5
in the present	5
have been able	5
the preceding pages	5
being a compound	5
is formed by	5
a white or	5
of the juices	5
are apt to	5
a change of	5
may in some	5
the shoulder and	5
prussian blue is	5
or of any	5
now to the	5
spirit of turpentine	5
not be amiss	5
as the red	5
of the experiment	5
thought it not	5
it is much	5
it is prepared	5
which the author	5
in the filtre	5
i have seen	5
matter of the	5
appear to have	5
he told me	5
of the saline	5
could not be	5
the hues of	5
be made with	5
with a black	5
the blind man	5
far from being	5
the absence of	5
is darker than	5
of the ground	5
must be remembered	5
such a colour	5
to express the	5
last of the	5
that they were	5
what may be	5
which though they	5
be taken to	5
gold and silver	5
colours with which	5
the shadows are	5
or color top	5
for the production	5
come to be	5
derived from the	5
the other of	5
familiar to the	5
the colour that	5
if you consider	5
which i had	5
a green by	5
is the natural	5
to a green	5
into it a	5
and the two	5
on the surface	5
the question of	5
been made to	5
spirit of nitre	5
introduced as a	5
in which case	5
upon the score	5
of the colouring	5
broken color is	5
both white and	5
and a little	5
that there was	5
the three primary	5
wheel or color	5
we have elsewhere	5
with black and	5
in the sequel	5
though i have	5
so much in	5
with a slight	5
given to the	5
three primary colors	5
in the light	5
action of strong	5
and at the	5
the points lettered	5
content my self	5
into the other	5
use of colored	5
red and violet	5
be referred to	5
is not to	5
at the points	5
to those of	5
of other bodies	5
it is always	5
of light that	5
either alone or	5
of a bluish	5
thus in the	5
light and colour	5
of a convenient	5
it be a	5
in the colours	5
the purest possible	5
is found to	5
small portion of	5
even with the	5
not now to	5
a white and	5
a little more	5
it is also	5
the normal colors	5
that which i	5
i have taken	5
the tints of	5
the doctrine of	5
theory of the	5
is curious that	5
is only a	5
of the wheel	5
in broken colors	5
there are divers	5
we should expect	5
when the children	5
by admixture of	5
by a small	5
which though it	5
of colors and	5
the purpose of	5
the protuberant particles	5
of our own	5
by some other	5
the broken colors	5
a pretty quantity	5
in that part	5
on each other	5
seen through it	5
any part of	5
of colours is	5
of the rest	5
of a liquor	5
truth of the	5
green is the	5
of these papers	5
a very dark	5
white and a	5
in a word	5
broken colors in	5
it is admirably	5
in imitation of	5
so in the	5
wet and dry	5
would be to	5
either in the	5
it was before	5
at a picture	5
not here to	5
a pretty while	5
contrast of colors	5
will be noticed	5
may suffice to	5
in the hands	5
made with the	5
effect in the	5
to each of	5
and do not	5
tint of a	5
will serve to	5
the brewster theory	5
of the children	5
corpuscles that make	5
and a green	5
in the whole	5
we may call	5
or the like	5
those who have	5
to look upon	5
one or other	5
is the complementary	5
to illustrate the	5
they are in	5
the redness of	5
it is curious	5
especially in the	5
an infinite variety	5
and that he	5
that colours are	5
work of art	5
principles on which	5
corresponding with the	5
may alter the	5
a golden colour	5
is a broken	5
the bradley colored	5
principle of turner	5
with lamp black	5
with raw sienna	5
you may have	5
the substance of	5
in the several	5
is called the	5
the larger disks	5
from the pure	5
it is made	5
of the sea	5
that white bodies	5
ought not to	5
as to form	5
relation to light	5
in the flame	5
have not had	5
the practice of	5
which is of	5
though it were	5
not at present	5
be as well	5
the generation of	5
and hence they	5
and a yellow	5
that in those	5
as they do	5
as a dye	5
of what he	5
of the texture	5
to a deep	5
to obtain a	5
to the most	5
we see the	5
in the work	5
third and last	5
be amiss to	5
these colours are	5
of sulphate of	5
educational colored papers	5
the bradley system	5
that the whole	5
the benefit of	5
a mind to	5
but as the	5
far removed from	5
in the distance	5
will appear of	5
we know it	5
and thus the	5
on the neutral	5
upper part of	5
to the palette	5
worth while to	5
lower part of	5
of fine colouring	5
those that have	5
in favour of	5
reflected to the	5
of late years	5
been introduced as	5
and by a	5
of the top	5
obtained from the	5
at the head	5
the upper surface	5
the centre of	5
three tones each	5
in the production	5
in the chart	5
can be obtained	5
for him to	5
i may have	5
or of a	5
yellow prussiate of	5
the strength of	5
the color is	5
is marked by	5
in which to	5
to a solution	5
to the various	5
the subject is	5
colored papers the	5
are complementary to	5
and all the	5
a box of	5
colored papers in	5
colours to be	5
tint with white	5
can only be	5
but it has	5
tints with white	5
is not only	5
at a convenient	5
this effect is	5
motion of the	5
not necessary that	5
the opinions of	5
the heat of	5
their tints and	5
the tertiary colours	5
also in the	5
of them to	5
of potash to	5
standards of color	5
wheel or top	5
orange and the	5
chart of colors	5
between these two	5
to the study	5
himself to have	5
the other day	5
enough to be	5
and in front	5
tones of each	5
expect to find	5
with a very	5
the under surface	5
shall find the	5
and to satisfie	5
the day time	5
principle of the	5
if there were	5
distribution of the	5
three or four	5
discovery of the	5
the intermediate hues	5
covered with a	5
will be necessary	5
pieces of glass	5
self to have	5
a bit of	5
in the sun	5
let me add	5
color may be	5
that i cannot	5
a due proportion	5
of a large	5
is of great	5
decoration of the	5
of these colours	5
of this book	5
may be rendered	5
tints may be	5
these are the	5
on the back	5
an account of	5
the incident light	5
we have to	5
there are so	5
be observed that	5
which they may	5
wont to call	5
of the insect	5
of the argus	5
of tints and	5
orange and yellow	5
bradley colored papers	5
the female is	5
to say that	5
for the palette	5
which do not	5
a dark and	5
with other colours	5
that the great	5
and the only	5
is of the	5
water or oil	5
as has been	5
for artistic use	5
in hue and	5
is sufficient to	5
for fear of	5
to which they	5
and it has	5
and the lower	5
composed of the	5
which is an	5
the pure colors	5
its pale washes	5
to and fro	5
of light by	5
there are other	5
and is not	5
all of them	5
are made by	5
light it self	5
a preparation of	5
of the question	5
are not only	5
with the red	5
several of the	5
of permanent pigments	5
of the greatest	5
colour upon the	5
in the object	5
to a certain	5
be considered as	5
these effects are	5
and they are	5
orange and purple	5
of the utmost	5
that upon the	5
after the manner	5
eyes of the	5
of our wood	5
acted upon by	5
the lakes of	5
light of a	5
that i remember	5
may be more	5
it might be	5
to the subject	5
of its being	5
be much more	5
referred to the	5
of the things	5
put you in	5
colors and the	5
there have been	5
of them in	5
that is wont	5
red or green	5
to the class	5
ruysdael and hobbima	5
not intended to	5
as we expected	5
i cannot but	5
the same in	5
out of a	5
and yet this	5
in tint with	5
as that the	5
can be used	5
that if the	5
to the use	5
is mixed with	5
difference between the	5
it is that	5
contrast to the	5
each other and	5
at the top	5
means of a	5
now stay to	5
the minds of	5
of the menstruum	5
by sulphuretted hydrogen	5
part of our	5
the other part	5
the quality of	5
up of a	5
that he was	5
in the bottom	5
by the bare	5
colouration in the	5
than one would	5
one or more	5
by an acid	5
of the mantle	5
that from the	5
which we shall	5
as compared with	5
one who has	5
the phenomena of	5
the secondary colours	5
of either of	5
very difficult to	5
and that which	5
its weight of	5
engine colored papers	5
use of color	5
fall upon the	5
brought to a	5
it is well	5
in the last	5
the physical superficies	5
by the liquor	5
can not be	5
of color perception	5
a work of	5
and that of	5
in the mind	5
not quite so	5
of the sulphureous	5
great deal of	5
are produced by	5
on the contrary	5
following are the	5
near at hand	5
is not always	5
the necessity of	5
or three drops	5
the body it	5
it is this	5
of the green	5
directly to the	5
from the black	5
distance from the	5
the line of	5
and the results	5
for there is	5
well as by	5
the mixture will	5
is capable of	5
by being compounded	5
as the most	5
blue with a	5
apt to be	5
be devoted to	5
the reflected beams	5
and to this	5
both of the	5
of the steel	5
of a lamp	5
may take notice	5
to the whole	5
brings into my	5
a drop of	5
be capable of	5
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to one another	5
from each other	5
the picture is	5
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the wings of	5
by the pupils	5
the same kind	5
my self in	5
by the interposition	5
of ruysdael and	5
just as we	5
but when i	5
upon the disposition	5
and will be	5
i have done	5
is made to	5
colours of metals	5
so to speak	5
of a pigment	5
that the first	5
it a little	5
of carbonate of	5
we are to	5
but as it	5
as on the	5
treatment of the	5
in a short	5
life and habit	5
an acid spirit	5
means by which	5
body that is	5
it as a	5
need not be	5
we might expect	5
will suffice to	5
that this was	5
the sun and	5
in that place	5
it to a	5
so great a	5
of the science	5
if i did	5
good store of	5
combined with a	5
whiteness of the	5
the point of	5
either of them	5
to see the	5
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some of its	5
the one hand	5
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that it would	5
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upon the retina	5
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of color education	5
to the black	5
over the whole	5
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would seem that	5
of the abdomen	5
to mention to	5
air and light	5
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color is the	5
it may have	5
reflect the beams	5
it is now	5
different parts of	5
the colour will	5
as those of	5
i have purposely	5
or two of	5
a red or	5
a dark red	5
of a small	5
development of the	5
of this essay	5
of iron and	5
the score of	5
of a good	5
of the original	5
to the production	5
intermediate spectrum hues	5
the variations of	5
either of a	5
of spectrum colors	5
only of the	5
with french blue	5
of the chief	5
up and down	5
as a local	5
or by a	5
some of which	5
upon the affusion	5
of strong light	5
of the lucid	5
the manufacture of	5
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though not so	5
to the blue	5
the same species	5
which cannot be	5
one side of	5
is to say	5
according to this	5
and a black	5
hue than the	5
study of tones	5
inside of the	5
mother of pearl	5
by the intervention	5
so that a	5
such as are	5
be made the	5
and then the	4
and colourless as	4
the neutral black	4
of a contrary	4
i presume you	4
to pass for	4
smooth surface of	4
centre of the	4
limpid and colourless	4
which are made	4
of making a	4
two pieces of	4
react on each	4
to be as	4
as this is	4
half of the	4
is a pigment	4
to it a	4
in the various	4
to make that	4
is more permanent	4
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alone or compounded	4
by wet and	4
colors and their	4
inferior to the	4
it could not	4
the possibility of	4
is well shown	4
you look upon	4
taken pleasure to	4